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audience, whose singing utterly captivated certain of their hearers. The most famous of them was Glauce of Chios, who sang at the court of Ptolemy Philadelphus and also composed.94 A couple of others are immortalized by their admirers' epigrams; another was Panthea of Smyrna, a mistress of the emperor Verus.95 The Berlin Ajax fragment (42) is a tragic lament set for a female singer. Evidence for female instrumentalists in outdoor eventsharpists and organists will be mentioned below. |
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Development of Instruments |
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Lyre and aulos were, as always, the principal instruments. But now that music-making was so much concentrated in the hands of professionals, it was the more elaborate types of lyre and aulos that predominated. We hear much of citharodes and citharists, and presumably they often used kitharas with more than seven strings. If Limenius had a string on his kithara for each note in his Delphic paean, he needed fourteen or fifteen. We have the statement of Nicomachus that lyres were built with as many as eighteen strings, and one monument actually shows nineteen.96 Auloi too were made increasingly versatile by the incorporation of subsidiary holes and attachments of various kinds.97 There comes to be a clear distinction between the choral and the Pythian (solo) aulos, and we hear of a number of other specialized aulos types. There was also a specialized 'Pythian kithara' for solo playing.98 |
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The harp, which in the Classical period was a domestic instrument mostly played by women, starts to appear in more public settings, in the hands of either sex. Male harpists are recorded as having performed at Alexander's wedding at Susa and at the Delian Apollo festivals of 284 and 236.99 On the latter occasion two harpists played, each 'with accompanying (choral) song' (meta prosoidiou). Somewhat later there are records of female harpists who accompanied |
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94 Theoc. Id. 4. 31 (above, n. 70); Pliny, HN 10. 51, Plut. De Pyth. or. 397 a, al.; cf. P, Maas, RE vii. 1396f. and Gow on Theoc. loc. cit. |
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95 Dioscorides, HE 1471, Antip. Sid. HE 496, Meleager, HE 4146, Anon. Anth. Pal. 5. 99, Crinagoras, GP 1777; Luc. Imag. 13f.: still apparently in the 6th c., Agathias, Anth. Pal. 5. 222, 7. 612, Paulus Silentiarius, ibid. 16.278. |
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96 Nicom. p. 274. 6; above, p. 62 n. 69. |
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97 See p. 87. |
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98 See pp. 60, 93. |
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99 Chares FGrH 125 F 4, IG 11. 105, 120. Anecdotes about harpists set earlier in the 4th c.: Plut. Quomodo adul. 67 f (entourage of Philip); Machon 104 ff. Gow. In the 5th c.: ps.-Plut. Apophthegmata Laconica 218 c. |
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